To pull down will always be like this: a cut up? First the teeth, now the hair: everything falls, everything is off, everything collapses.

2

This no longer fits here. What I feel when I swallow my own taste?

3

It’s like not to be anything. I prefer to delight myself, to dismay myself, to ride on the clitoris of moon.

4

Other days will come from that bad breath.

5

I’m sorry to be so: a beige detail in the closet luggage locker.

6

I can’t capture the fading lozenges that the anguish search.

7

Deep down, I turn something more than myself.

8

Well: a lighthouse and a heel of violets.

9

Gaiters do not fit the aura of tears.

10

That is I feel evasive and porous and wanting to bite myself.

11

It’s sufficient that the eyes are opened and the world fits them.

12

In the maelstrom of arms, to shave the pussy at noon.

TROPICS

I feel disgust
for these
hot nights

curdled
lulls –

where holes
on the wall

are time
tunnels

THEORY OF BEAUTY

The desire conceives
a sienna tone
in your skin

I under you
ashamed

You over me −
with your breasts
full of partridges

FILIGREES

1

Poet
sleeps –

Fearing
his sleep

we hurry
the poem

2

Eyes are
fingers in
the mirror

3

Moreover
a prostitute

looks move
away from

the mouth

Jorge Lucio de Campos was born (1958) in Rio de Janeiro, Brazil. He is an Associate Professor of Philosophy and Theory of Communication and Culture at Escola Superior de Desenho Industrial (ESDI) of the Universidade do Estado do Rio de Janeiro (UERJ). As a poet, he published the books Arcangelo (EdUERJ, Rio de Janeiro, 1991), Speculum (EdUERJ, Rio de Janeiro, 1993), Belveder (Diadorim, Rio de Janeiro, 1994), A dor da linguagem (Sette Letras, Rio de Janeiro, 1996), À maneira negra (Sette Letras, Rio de Janeiro, 1997) e Prática do azul (Lumme, São Paulo, 2009). His poems, essays and interviews circulate in various printed and virtual magazines and sites. He participated of the anthology (organized by brazilian poets Claudio Daniel and Frederico Barbosa) Na virada do século: poesia de invenção no Brasil (Landy, São Paulo, 2002).